Seven Gates of Hell with GOAT TORMENT

5. dubna 2016 v 20:14 | RaznAgul |  seven gates of hell interviews
The aim of the open series of the blogzine´s Seven Gates of Hell interviews is to introduce the bands and their music that struck my metalhead´s heart and soul recently. In seven questions, the gates are open for those who make their music of true metal spirit, pure dedication and of what I understand as underground approach and aesthetics.

The means of torture can vary in many ways. But when it comes to cadaveric black metal looming from the current Belgian underground, the tormenting lashes can be best handled by the demonic arts of GOAT TORMENT. I bet my headbanger´s fortunes on it. The band´s second full-length "Sermons to Death" that came out in July last year convinced me fully of their music´s witching qualities. Wrapped in the cosily evil black-and-red digipack hatched by Amor Fati Prods., the album dishes out a hell of ravenous beast snatches that keep one on a high metal alert throughout its playing time. No compromise, "Sermons to Death" must have been an entry with a priviledged place in my music collection. For the rest, it is my honour, now, to natter with the band´s mastermind Kwel.

I. In the original line-up of GOAT TORMENT, when you started the band with KJ. and Perversor in 2008 and spewed out your first demo recording "Death Worship", you played guitars. With your following "Bestial Torment" split, you already took over some vocal parts, and then on the band´s debut album "Dominande Tenebrae" you turned out being in a full-fledged control of vocals, guitars and even bass. Has your gradual mastery of the band led to some significant changes in views and ideas you built the band on eight years ago?
"When I think of the gradual changes in general, the thought of different eras within the band comes to mind. The ideas that I hold now are the same ones that were in mind when the band was founded. Everyone from the original line up went their own way due to different views about the future of GOAT TORMENT and other musical differences. Without the intentions and as a part of the evolution that I mentioned, it just happened that with time I've kept the band alive because I've held the same mentality and beliefs since the beginning."

II. After the several past replacements of the band´s drummer, have you ever thought of taking the whole control of the band, playing even the drums? Or do you need somebody to accompany you, even in terms of composing music?
"For GOAT TORMENT, it was never the idea nor intention for it to be one man behind it all. If I knew how to play drums, I don't think that I would do it anyway. There have been replacements, but everytime it has made GOAT TORMENT more aggressive and powerful. In relation to the first question, the changes were due to different ideas and directions of concept that added limitations to the evolution of the band."

III. When I crashed into GOAT TORMENT for the first time, I expected some sort of ear torturing havoc that would crush my head. Only then being enthusiasticly surprised, that their music can be aggressively accessible, even enjoyable, in terms of rough soul's sentiments. Have you been always inclined to the true power of crafted black metal songs, rather than to an intangible spirit of black magic, esoteric rituals?
"I listen to different kinds of metal, for example black, death, thrash..., but GOAT TORMENT was created to poison the weak minds. When I write for GOAT TORMENT, I am thinking about bone crushing riffs while the thorns are being hammered deeply into the skull of Christ. The esoteric direction and style of music can be good if it's performed in the proper manner with an intense passion for it and not some kind of wikipedia knowledge wanna be occult band that wants to hop on the bandwagon."

IV. After a good amount of listenings to "Sermons to Death", I still have an irresistible feeling that there is one single compositional theme recurrent throughout the album. It doesn´t mean that the songs are repetitive. They play with musical variations but around one single compositional spindle, so to say. Or am I completely wrong?
"When I wrote "Sermons To Death", I wanted to make an album that was straight forward more oldschool, yet crushing. I didn't want to write material for the purpose of originality because the sole purpose was spilling out the message that Death itself is the most real and powerful thing to exist. I was satisfied with the final result because everything was said and done by Torturer and me. The point had been made".

V. The central theme of "Sermons to Death" is, obviously, death itself. Recently I came across quite a challenging view that the concept of death is nothing one can boast about as an imaginative source of their music, because death is so profane as everyone has the ability to die. In what sense is death so inspirative for your arts?
"Like I said in my previous answer, Death is the most powerful thing to exist. People are afraid to die, but why? Because they don't know what's going to happen, they don't know what's next? Because they don't want to face reality? Because there's more than their stupid little miserable lives? The fear of entering the dark and the stupidity of humanity that's afraid to face death is what inspired me."

VI. "Sermons to Death" is not just a headlong rushing of the black beats. Though one gets a good portion of it throughout its playing time, the album doesn't give up on evoking weird moods and feelings, being wrapped in grim sound alchemy. Were these moody parts of the album composed with a deliberate focus or did they turn up as a result of iimmediate imagination?
"I would say both. The compositions were done before we went into the studio, and I contributed some extra parts into the music at the moment itself while recording due to sudden inspiration while the final product was taking shape."

VII. You recorded "Sermons to Death" together with Torturer in two but GOAT TORMENT also have their full line-up for a stage playing. Do you feel that session members give to your music some additive, unusual flavour or is your live performance more or less accurate reproduction of what you had in mind for the recording in the studio?
"I've always been using session members for live playing. Every individual had their own energy that gave something extra to the stage but I didn't have in mind to have more minds behind the compositions then. Now, for the 3rd full length album that we've began working on, GOAT TORMENT is a four-member band, and it has also become international because we have only one Belgian member (me), one German (Torturer) and two from France (Saroth and Silmaeth). Their input in the band is strong and powerful due to their talented and creativite minds with their own ways of writing yet all meet in the same vein. For the upcoming album, I believe that people won't be disappointed at all with the end result of this death wielding entity."

Thanks a lot for your answers. The dark acts of GOAT TORMENT have my full support!
"Thank you for the interview. Hail Satan, Hail Death!"


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